In the final issue of The Charleston Mercury, Robert Barnwell Rhett described our regional cultural divide this way: “The South, a more tolerant and congenial region, did not like change and revered the past, while the North, “fond of novelties, misnamed “progress,” was the slave of its own dogmatism.”
This was a common refrain in the Old South.
From the perspective of Southern conservatives, the liberal societies of the American North and Western Europe appeared to be boiling over with various bizarre social revolutions which they didn’t understand or want to see introduced into their own culture. The people who lived there always seemed to be in a somewhat demented state. They were strikingly never satisfied. The definition of “progress” to them was endless novelty seeking or leveling and perverting the social order for the sheer thrill of doing so. All of this sounds too familiar and closer to home in our times.
Anyway, I was reminded of Rhett’s words when I saw this earlier this morning:
Parents! ? How do you support LGBTQ+ kids? ????— BBC Bitesize (@bbcbitesize) July 9, 2020
We had @Divinadecampo from @dragraceukbbc to discuss just that on the Bitesize Secondary Parents’ Survival Guide podcast on @BBCSounds!
Listen now! ? https://t.co/wimsM5e0S3 pic.twitter.com/lkdiRrfB0o
I’ve said it once and I’ll say it again: Globohomo is interested in your kids.— Woke Capital (@WokeCapital) July 10, 2020
This dragf*g on BBC Bitesize wants to help parents have “tricky conversations with your teenagers so that one day they can be as powerful and stunning as” him. pic.twitter.com/z2CfvZ9XVJ
BBC Bitesize is a free teaching resource marketed towards home-schoolers. They REALLY want to get their claws into your kids. No escape! pic.twitter.com/6wcsBbmfPA— Woke Capital (@WokeCapital) July 10, 2020
Somehow this freak is even more disturbing without the makeup. That’s quite the accomplishment.https://t.co/z6PN3zBG6Q— Woke Capital (@WokeCapital) July 10, 2020
There it is.
This is the cover of Sports Illustrated swimsuit edition.
Last year, they had Moby Dick on the cover to promote fat acceptance. The goal is to push “exposure to diversity” and new norms against fatphobia and transphobia because objective beauty is marginalizing. For the same reason, black women are always being crowned winners of beauty pageants.
It is everywhere:
Here is the latest example.
“Jari Jones is making history.
The Black transgender model, actress and activist celebrated a huge accomplishment this week when she saw herself on a larger-than-life Calvin Klein billboard in Manhattan, New York as apart of the fashion brand’s 2020 Pride campaign #PROUDINMYCALVINS.
Calvin Klein’s Pride campaign features nine LGBTQ models including 13 Reasons Why actor Tommy Dorfman, artist Gia Woods, trans activist Chella Man, drag queen and singer Pabllo Vittar, and Jones, who identifies as a transqueer lesbian—just to name a few. …”
This is beauty on Critical Social Justice Theory.
It is a purely subjective social construct. It couldn’t be more clear that perversion is the point. The ideal of masculinity is black effeminacy. The ideal of femininity is black and trans and obese.
I’m not done.
The fashion industry is also built on hierarchies of racism and classism.
“Luxury fashion’s love of hierarchies has never been subtle. Telling people what they should look like often also requires telling them what’s unacceptable: To spend money on feeling better, people first need to feel bad. For decades, the industry tolerated nearly no dark skin, fat bodies, wrinkles, or outward indications that a person wasn’t summoned from the recesses of a French executive’s brain and manifested directly onto the banquette at a SoHo restaurant. Any criticisms, the industry shrugged off.
Suddenly, though, it’s the worst time to be peddling European elitism since the French Revolution. As the United States has roiled with soaring unemployment, mass death, and protests against racist state violence, fashion has had to contend with accusations that it long refused to dignify with a response. In June, Yael Aflalo, the CEO of the popular sustainable-fashion brand Reformation, and Leandra Medine Cohen, the influencer behind the style website Man Repeller, both left the companies they founded after their employees accused them of racism and classism. Vogue’s longtime editor in chief, Anna Wintour, was recently forced to apologize to her workforce for the publication’s decades of racism in a bid to keep her job.
For the most part, the tales of toxicity in fashion aren’t new …
Just last week, the fashion industry coughed up another example of the financial dismissiveness with which it treats Black talent: The designer Telfar Clemens was unceremoniously dropped by Gap, which had been promoting a high-profile collaboration with him as recently as January. …
Washing whiteness out of the hierarchy of fashion wouldn’t just take adjustments to corporate leadership or less exploitative supply chains. It would mean dramatic changes in how wealth accumulates more broadly, and in how we think about nice things and who should have them. …”
Hierarchies of objective beauty and elegance must be subverted by the woke … everywhere. Dramatic changes are necessary to wash out the whiteness in fashion.
What is the goal that runs through all of this? Celebrating the criminal and damning the cop? Degrading Whites and exalting blacks? Beauty and ugliness trading places? Injustice becoming justice? It is to subvert the social order and to turn the world upside down and call it “progress.”
Agree with my opinion? Disagree with this agenda? It is “hate.”
Note: Is our present dystopian society worth fighting for to preserve? Could a foreign conquest and occupation possibly be worse than this?